In my previous post about volume limits, one of the keys I mentioned was limiting stage volume. I mentioned I could write an entire post on this topic alone, so here it is…
If you think of the average contemporary church stage, there are quite a few sources of volume. Drum sets and guitar amps are normally the most obvious offenders, but floor monitors can be just as dangerous. For this post, we will focus on the different contributors to stage volume, and different strategies to limiting them.
This in many churches is the loudest source of stage volume. Often loud drum sets will dictate volume levels more than any leadership mandates could. I have been in situations before where we did not mic the drums, and mixed the rest of the instruments to the live drum volume. I am not recommending this practice, but it gives you an idea of the challenge we face.
The most obvious solution to the drum volume problem is electronic drum sets. However, whether this is a true solution or not is debatable. They do reduce stage volume, but unless you splurge to buy a high end electronic kit, you will never be happy with the drum sound, and even with top of the line kits it is difficult.
The second option is sound limiting techniques. Drum shields and padding are often use to reduce or redirect live drum sound. Some churches even go so far as building a full cage for the drum set. Although a full cage is not in the budget of most churches, some level of sound redirection is very helpful. Just make sure you are not making the problem worse instead of better. I visited a local church this summer who was having problems with their music mix. As soon as I walked in the room, I knew what the problem was. They had built a drum cage out of plexiglass and styrofoam. I am sure budget issues limited what they could do, but their DIY drum cage definitely hurt, rather than helped. The natural tendency of a drummer in a cage is to play louder. Put them in a cage with little or no sound deadening, and you are magnifying the problem, not reducing it. A good quality shield in front of the drum set would be much more effective.
Another thing to consider with a drum shield is where the sound is being redirected. Typically, a drum shield will reflect sound up, and against the back wall. So if you are reflecting this drum sound onto hard surfaces, such as walls and a low ceiling, you are probably doing more harm than good. Consider adding some baffling behind the drum set, against the wall, or above the shield, or both.
Finally, and most importantly, work with your drummer. Most drummers simply want to make the band sound better. So if you talk to them in a polite way, and work together, they can help reduce stage volume. Talk to them about how lowering their volume on stage will make the sound in the house better. This step should be the first and most obvious solution.
Again, key number one is working together with musicians to lower stage volume. This can become a complicated issue for many reasons. One factor is that any many churches, guitarists and bass players typically prefer to hear themselves through the amp, rather than a monitor. So reducing the amp volume reduces their ability to hear themselves. To solve this problem, try placing the amp in front of the player, and point it at their head instead of their knees.
Another issue with guitar amps is that volume level effects tone quality. Many guitarists intentionally run their amp louder to get the tone they are looking for. So asking them to reduce their amp volume on stage is like asking them to play with bad tone. So the solution is trying to find a way to reduce stage volume without turning down guitar amps. Again, pointing them towards the back wall may help, but probably not enough. If the amp is on stage, baffling it may help. The other solution is to move the amps off stage. Many guitarists cringe at taking their amp and hiding it in the closet. They don’t want to loose the ability to adjust the amp. But when the choice is between turning down the amp, or moving it off stage, most guitarists I have worked with will choose the later. Just make sure they get a good sound in the monitors, or no one will be happy.
One contributor to stage volume that often gets over looked are floor wedges. If you have multiple floor monitors on stage, you have a cascading problem. The wedges have to be turned up to overcome the other loud volume sources on stage. Then with the wedges blaring, there is no clarity in the mix, so people start asking for more of everything in their mix. This just compounds the problem.
The most obvious (and expensive) solution is replacing wedges with in-ear monitors. This is definitely a great option, but out of the budget of many churches. And sometimes you will find that a cheap in-ear solution does more harm than good.
Another potential solution is how you set-up and mix floor wedges. One important thing is to have the musician or singer as close to the wedge as possible. That way, you can lower the overall volume level of the wedge, and the musician can still hear. Another key to reducing wedge volume is to mix monitors by subtraction rather than by addition. They most natural way to mix monitors is to add a little of this, and a little of that. More often than not, that is how musicians will request changes. However, the more you add, the louder it gets. Rather, if a musician needs more of several items, try reducing the other channels instead. Also, training musicians to ask for channels to be reduced rather than increased will help as well.
Following these guidelines can help reduce stage volume, which can bring a lot of clarity to the house mix. But please let me reiterate, the key is to work with musicians, not against them. If the volume struggle becomes an us vs. them battle, nothing will help. I hope these suggestions help you control your stage volume and make your mixing better, and more fun.